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For a mogul who can’t accept the end, a high-tech tomb becomes a portal in ‘The Shrouds’

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Watching a David Cronenberg movie sometimes feels like discovering a pet cat has brought a fresh catch to your doorstep – it’s both disturbing and intriguing, a blend of fear and fascination, with undertones of oddity that are tinged with sadness and even humor.

In the dark and intriguing film “The Shrouds” by the Canadian director, the themes of grief and biotechnology are presented in a way that evokes various conflicting emotions. Given his personal loss of his wife after 43 years, it is not surprising that this masterful storyteller has crafted another thought-provoking, chilling piece about our unrelenting curiosity towards the body’s betrayals. If this turns out to be Cronenberg’s final work, it will serve as a profound and poignant testament to his career.

The filmmaker starts off humorously by depicting an intriguing, theme-setting blind date that would make a renowned satirist like George Saunders envious. Karsh, a widowed entrepreneur (played by the weary and distinguished Vincent Cassel), poses a question to his refined, also-widowed companion (Jennifer Dale) about his work: “How far are you willing to go?” This is hinting at his state of mind, since dining in a restaurant he owns called Gravetech would be the first indication.

Karsh proudly unveils to everyone his extravagant memorial structure, adorned with life-size gravestones, boasting screens that enable wealthy mourners to observe their deceased loved ones’ decomposition in real-time, via a secure app, from any perspective. As he selects Becca for viewing, the discomfort on his date’s face is evident: it seems this dinner outing has turned into one of the most unpleasant experiences they have ever shared.

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In a contemplative discussion, the Canadian filmmaker considers themes of physical distress, politics under Trump’s administration, innovator Elon Musk, personal legacies, and the possibility that “The Shrouds” could be his final film production.

Karsh’s fixation – on his wife’s deterioration and expanding his business – is genuine, to the point where he becomes concerned when he spots strange growths in a magnified view of Becca’s skull and his cemetery experiences an apparent targeted attack. Suspecting foul play, Terry, Becca’s surviving twin sister and portrayed by Diane Kruger in a dual role, is skeptical. She believes the growths might be tracking devices, and she doubts that Becca’s innovative cancer treatment was entirely ethical.

Discussing various concerns with his tech-savvy brother-in-law Maury (resembling Guy Pearce), Karsh ponders if eco-activists, religious groups, rivals, or possibly even the Russians or Chinese could be troubled by his extensive business growth, particularly the development in Iceland’s lava field. Simultaneously, a wealthy, ailing Hungarian investor’s visually impaired, alluring wife (Sandrine Holt) initiates an affair with Karsh, subtly suggesting that Russia or China may consider hacking Gravetech’s network of grieving devices as an opportunity. Could it be that data is the new ashes?

It’s no surprise that our renowned visionary in the realm of body fusion (“The Fly,” “Videodrome,” “Crash,” “eXistenZ”) has conceived a 21st-century techno-mystery scenario, blending lifestyle advancements we currently know – biotech gadgets, self-driving cars like Karsh’s, and AI assistance – in a way that seems more plausible than any of his previous imaginings. Many elements he has portrayed on screen have become reality: Everything serves as a tool, a danger, and an attraction. And there, providing the unsettling atmosphere once again, is Cronenberg’s frequent collaborator Howard Shore with his synth melody to maintain the unease.

While “The Shrouds” might initially seem like a thriller (with themes of death, theft, and espionage), its true appeal lies in portraying Karsh as a chess piece navigating the labyrinth of his sorrow, which unfolds throughout the movie through intriguing, progressively personal dialogues and sensual deviations, featuring a spectral reenactment of intimate bedroom scenes with the terminally ill Becca. The film constantly underscores that our bodies are sacred, sacred spaces. However, Cronenberg masterfully emphasizes that in our most despairing times, our bodies can feel like a betrayal or a secret plot.

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2025-04-18 18:01

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